AI News, Virality Prediction using Artificial Intelligence

Virality Prediction using Artificial Intelligence

The AI research group at ParallelDots has been able to build the technology which will help users know, with a high degree of certainty, if what is in their image stock will make good noise if it goes on to become public.

significant section of any smartphone’s space goes into apps designed specifically to make that scintillating voice- the sound of the delivery guy ringing the doorbell with sumptuous food in his hands and hopefully some discount coupons too.

In order to gain competitive advantage, a useful means which restaurants use to entice app users is putting up on their websites images of dishes that could make mouths water.

Anyone who would want to be featured on the front page of a magazine, have their film’s poster flashed on the screens of Times Square, or have a publishing house cover their story, knows the importance of a terribly good picture.

Public figures can use this simple technology to find out which of their pictures will become popular, without being bogged down by the subjectivity of biases, shortcuts and cognitive illusions.

Using aggregators for letting out hostels, service apartments, homestays, flats, rooms et al is probably the easiest approach for reaching an immense base of customers.

Stock photo aggregators can use this technology to decide which images should go up on the website in order to maximise visibility and ensure public approval without going through the trouble of manual selection At the same time, they can use the Image Recognition API to sift through millions of images to identify those objects which are trending in most pictures and build a deep understanding of demand.

Image Comics

Any list of the best teams in the history of comics would be incomplete without writer Ed Brubaker and artist Sean Phillips, whose long, shared resume includes noir classics such as Sleeper, Criminal, Incognito, Fatale, The Fade Out, and the recently concluded Kill Or Be Killed.

Brubaker describes the series as &ldquo;a story about a teen girl who romanticizes drug addiction as one of her filters to view the world.

&ldquo;Some of it I&#39;m sure comes from my own childhood, going to my mother&#39;s AA meetings from the time I was nine or 10 years old, and my own lifelong obsessions and observations about art and pop culture heroes and self-destructive habits that so many people fall prey to.&rdquo;

&ldquo;I wanted to write a crime story that somehow touched on that strange and dark side of pop culture at the same time, and Ellie and her story gave me a perfect way in.&rdquo;

The work stands on its own, but longtime fans of Criminal&mdash;a series of graphic novels started in 2006 and spans six volumes and two one-shots&mdash;will notice some Easter eggs.

Once we did Last of the Innocent [a noir-soaked take on the Archie Comics archetypes], I knew we could tell any kind of crime story I wanted to within that world.

Brubaker has made the comparison himself, saying of his collaborator since 2001, &ldquo;I communicate with Sean more than anyone other than my wife, probably, but we&#39;ve only been in the same place four or five times in all the time we&#39;ve worked together.&rdquo;

Brubaker and Phillips took an idea common to comics&mdash;a disturbed white man killing criminal scum, ho hum&mdash;and turned it into one of the most psychologically complex and narratively unpredictable comics in years.

The narrator made more time jumps than an episode of Westworld (a show Brubaker wrote for in its debut season), and the use of splash pages with narration cascading down the page gave this comic a distinctive feel among Brubaker/Phillips creations.

colors add a new wrinkle to the veteran team&rsquo;s comics, and you can expect many more new wrinkles in the future given their level of trust.